In a second wacky tale about the British monarch, Antony shows the high jinks that ensue when the queen’s most precious accessory is snatched by a swan.

The cartoonish queen figure and her corgi give chase through the streets of London and all over Britain, pursued by an ever growing phalanx of uniformed police officers. From London, the energetic royal and her dog drive through Stonehenge, bike to the white cliffs of Dover, fly to Oxford, parachute into Snowdonia, navigate the Giant’s Causeway in a boat, catch a train past the Angel of the North to Edinburgh Castle, and ride back to London on horseback. The sneaky swan is finally apprehended at the finish line of the London Marathon. As in predecessor The Queen’s Hat (2015), the police appear to be identical, but on closer inspection there are amusing variations: a druid appears in Stonehenge, the Mad Hatter rides a bike, one wears a kilt and another’s in Union Jack underwear, and a camel and a panda can be found in the marathon crowd. Kids will enjoy the opportunities for Where’s Waldo–style observation in the neat, repetitive colored-pencil drawings, which continue from the cover throughout the book, including front and rear endpapers. Brief closing notes on the landmarks depicted follow the caper, but they won’t do much to fill in the gaps for readers unfamiliar with the geography.

A jolly British lark but with somewhat limited educational value.
(Picture book. 2-5)

A young child explores the unlimited potential inherent in all humans.

“Have you ever wondered why you are here?” asks the second-person narration. There is no one like you. Maybe you’re here to make a difference with your uniqueness; maybe you will speak for those who can’t or use your gifts to shine a light into the darkness. The no-frills, unrhymed narrative encourages readers to follow their hearts and tap into their limitless potential to be anything and do anything. The precisely inked and colored artwork plays with perspective from the first double-page spread, in which the child contemplates a mountain (or maybe an iceberg) in their hands. Later, they stand on a ladder to place white spots on tall, red mushrooms. The oversized flora and fauna seem to symbolize the presumptively insurmountable, reinforcing the book’s message that anything is possible. This quiet read, with its sophisticated central question, encourages children to reach for their untapped potential while reminding them it won’t be easy—they will make messes and mistakes—but the magic within can help overcome falls and failures. It’s unlikely that members of the intended audience have begun to wonder about their life’s purpose, but this life-affirming mood piece has honorable intentions. The child, accompanied by an adorable piglet and sporting overalls and a bird-beaked cap made of leaves, presents white.

More gift book than storybook, this is a meaningful addition to nursery bookshelves
. (Picture book. 2-8)

Princess Penelope Pineapple, illustrated as a white girl with dark hair and eyes, is the Amelia Bloomer of the Pineapple Kingdom. She has dresses, but she prefers to wear pants as she engages in myriad activities ranging from yoga to gardening, from piloting a plane to hosting a science fair. When it’s time for the Pineapple Ball, she imagines wearing a sparkly pants outfit, but she worries about Grand Lady Busyboots’ disapproval: “ ‘Pants have no place on a lady!’ she’d say. / ‘That’s how it has been, and that’s how it shall stay.’ ” In a moment of seeming dissonance between the text and art, Penny seems to resolve to wear pants, but then she shows up to the ball in a gown. This apparent contradiction is resolved when the family cat, Miss Fussywiggles, falls from the castle into the moat and Princess Penelope saves her—after stripping off her gown to reveal pink, flowered swimming trunks and a matching top. Impressed, Grand Lady Busyboots resolves that princesses can henceforth wear whatever they wish. While seeing a princess as savior rather than damsel in distress may still seem novel, it seems a stretch to cast pants-wearing as a broadly contested contemporary American feminist issue. Guthrie and Oppenheim’s unimaginative, singsong rhyme is matched in subtlety by Byrne’s bright illustrations.